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<article article-type="research-article" dtd-version="1.3" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xml:lang="ru"><front><journal-meta><journal-id journal-id-type="publisher-id">history</journal-id><journal-title-group><journal-title xml:lang="ru">ВЕСТНИК РГГУ. Серия «Литературоведение. Языкознание. Культурология»</journal-title><trans-title-group xml:lang="en"><trans-title>RSUH/RGGU Bulletin: “Literary Teory. Linguistics. Cultural Studies”, Series</trans-title></trans-title-group></journal-title-group><issn pub-type="ppub">2073-6355</issn><publisher><publisher-name>RSUH</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.28995/2686-7249-2021-4-110-125</article-id><article-id custom-type="elpub" pub-id-type="custom">history-968</article-id><article-categories><subj-group subj-group-type="heading"><subject>Research Article</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="ru"><subject>«НОВОЕ ИСКУССТВО» И КУЛЬТУРА XX В.</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="en"><subject>“THE NEW ART” AND CULTURE OF THE 20TH CENTURY</subject></subj-group></article-categories><title-group><article-title>Природа образа в технологическом искусстве середины XX в.: светокинетические эксперименты Фрэнка Малины</article-title><trans-title-group xml:lang="en"><trans-title>The nature of the image within technological art in the mid – 20th century. Lumino Kinetic experiments by Frank Malina</trans-title></trans-title-group></title-group><contrib-group><contrib contrib-type="author" corresp="yes"><name-alternatives><name name-style="eastern" xml:lang="ru"><surname>Захарченко</surname><given-names>И. Н.</given-names></name><name name-style="western" xml:lang="en"><surname>Zakharchenko</surname><given-names>I. N.</given-names></name></name-alternatives><bio xml:lang="ru"><p>Ирина Н. Захарченко, кандидат исторических наук, доцент</p><p>125993, Москва, Миусская пл., д. 6</p></bio><bio xml:lang="en"><p>Irina N. Zakharchenko, Cand. of Sci (History), associate professor</p><p>bld. 6, Miusskaya Sq., Moscow, 125993</p></bio><email xlink:type="simple">inzakh@gmail.com</email><xref ref-type="aff" rid="aff-1"/></contrib><contrib contrib-type="author" corresp="yes"><name-alternatives><name name-style="eastern" xml:lang="ru"><surname>Щедрина</surname><given-names>О. М.</given-names></name><name name-style="western" xml:lang="en"><surname>Shchedrina</surname><given-names>O. M.</given-names></name></name-alternatives><bio xml:lang="ru"><p>Ольга М. Щедрина, магистрант</p><p>125993, Москва, Миусская пл., д. 6</p></bio><bio xml:lang="en"><p>Olga M. Shchedrina, M. A. master student</p><p>bld. 6, Miusskaya Sq., Moscow, 125993</p></bio><email xlink:type="simple">helga.shchedrina@gmail.com</email><xref ref-type="aff" rid="aff-1"/></contrib></contrib-group><aff-alternatives id="aff-1"><aff xml:lang="ru"><institution>Российский государственный гуманитарный университет</institution><country>Россия</country></aff><aff xml:lang="en"><institution>Russian State University for the Humanities</institution><country>Russian Federation</country></aff></aff-alternatives><pub-date pub-type="collection"><year>2021</year></pub-date><pub-date pub-type="epub"><day>26</day><month>05</month><year>2021</year></pub-date><volume>0</volume><issue>4</issue><fpage>110</fpage><lpage>125</lpage><permissions><copyright-statement>Copyright &amp;#x00A9; Захарченко И.Н., Щедрина О.М., 2021</copyright-statement><copyright-year>2021</copyright-year><copyright-holder xml:lang="ru">Захарченко И.Н., Щедрина О.М.</copyright-holder><copyright-holder xml:lang="en">Zakharchenko I.N., Shchedrina O.M.</copyright-holder><license xml:lang="ru" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>Данная работа распространяется под лицензией Creative Commons Attribution 4.0.</license-p></license><license xml:lang="en" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>This work is licensed under a Creative Commons Attribution 4.0 License.</license-p></license></permissions><self-uri xlink:href="https://history.rsuh.ru/jour/article/view/968">https://history.rsuh.ru/jour/article/view/968</self-uri><abstract><p>В предлагаемой статье впервые в русскоязычном академическом пространстве рассматривается и анализируется творческое наследие ученого, инженера-ракетостроителя и художника Фрэнка Джозефа Малины (1912–1981). Его деятельность отразила важнейшие этические и эстетические устремления середины ХХ в., явилась важным вкладом в развитие современной визуальной культуры. Пионер светокинетического искусства, Ф. Малина создал несколько уникальных электромеханических систем производства образа, медийная инфраструктура и технологическая природа которого позднее станет нормой визуальности цифровой эпохи. Открытие электрического света как нового художественного медиума позволило ему сделать акцент на способах производства, контроля и алгоритмах обработки света, производящего изображения. Светокинетические эксперименты Ф. Малины основаны на понимании новой природы образа, рожденного эпохой грандиозных научных открытий. За несколько десятилетий до провозглашенного академической наукой визуального поворота они представили образ как систему отношений, которая формируется в актах восприятия и в основе которой лежит не видимая, но чувствуемая, представляемая, воображаемая реальность. Создавая свои произведения, Ф. Малина мечтал о моделировании качественно новых перцептивных условий для существования нацеленного на дальнейший прогресс и путешествующего к звездам человечества.</p></abstract><trans-abstract xml:lang="en"><p>For the first time in the Russian-speaking academic environment the authors of the paper analyze the creative legacy of the scientist, aeronautical engineer and artist Frank Joseph Malina (1912–1981). His working practices reflected the most important ethic and aesthetic aspirations of the mid-twentieth century, what became an important contribution to the development of modern visual culture. The pioneer of Lumino Kinetic art F. Malina created several unique electromechanical systems for the production of an image, the media infrastructure and technological nature of which would later become the visual standard of the digital age. The discovery of electric light as a new artistic medium allowed him to focus on the production methods, control and processing algorithms for light that produces images. The Lumino Kinetic experiments of F. Malina are based on understanding the new nature of the image, born during the era of scientific discoveries. Several decades before the iconic turn was proclaimed by academic science, they presented the image as a system of relations that is formed in acts of perception and that is not based on visible, but felt, ideated, imagined reality. While creating his works F. Malina dreamed of modeling qualitatively new perceptual conditions for the existence of mankind aimed at further progress and traveling to the stars.</p></trans-abstract><kwd-group xml:lang="ru"><kwd>Фрэнк Джозеф Малина</kwd><kwd>светокинетическое искусство</kwd><kwd>технологическое искусство</kwd><kwd>образ</kwd><kwd>визуальный поворот</kwd><kwd>визуальная культура</kwd></kwd-group><kwd-group xml:lang="en"><kwd>Frank Joseph Malina</kwd><kwd>Lumino Kinetic art</kwd><kwd>Technological art</kwd><kwd>Image</kwd><kwd>Visual turn</kwd><kwd>Visual Culture</kwd></kwd-group></article-meta></front><back><ref-list><title>References</title><ref id="cit1"><label>1</label><citation-alternatives><mixed-citation xml:lang="ru">Calos 1974 – Calos N. Electricity and motion in my kinetic art works // Kinetic art theory and practice. Selections from the journal Leonardo, New York: Dover Publications, 1974. P. 3–5.</mixed-citation><mixed-citation xml:lang="en">Calos, N. 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